Literature on penal tourism has examined meanings of imprisonment and punishment communicated in infamous American (e.g. Alcatraz, Eastern State Penitentiary), Australian (e.g. Fannie Bay Gaol, Port Arthur) and South African (e.g. Robben Island) sites. Yet such research has not extensively drawn from academic debates on authenticity and heritage that have become prominent in tourism research. This article examines the staging of authenticity in lesser-known penal history museums located across Canada. Whether large and aesthetically impressive or small and dingy, the existence of museums in original heritage penal sites raises questions about authenticity and how it is staged. Based on an analysis of field notes and interviews from visits to 45 penal history sites in Canada, we present four strategies (preservation, restoration, importation and creation) used by staff and volunteers at penal history museums to draw attention to four types of authenticity (architectural and spatial, tactile and visual, existential and narrative) that reinforce claims about the purported realities of incarceration found therein.
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